Customer Reviews

Boss Guitar

5 star:		(13)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

I strongly agree with the other reviewers who believe this is the Maestro's best outing. Therefore, as the best of Wes, it is by definition the pinnacle of jazz guitar. For newcomers, though, you can't go wrong with any of his recordings on the Riverside label, now issued as part of the "Original Jazz Classics" series. "Besame Mucho" has that minor-key, midtempo Latin thing that just kills me--the second take is even cooler than the first. "Trick Bag", "Canadian Sunset", "Fried Pies", & right in the middle, a supremely melodic rendition of "Days of Wine & Roses". Man, oh man, what are you waiting for? I've owned this disc for at least 5 years, and still listen to it 2 or 3 times a week, at least. That's heavy rotation when you consider approx. 1,000 other CD's to choose from. Get it now, or remain tragically unhip.

What's amazing about this session is the way Wes carries it from begining to end... Wes is upfront throughout... relaxed, smoking and creatively vibrant... before Mel Rhyne even gets his first word in Wes has soulfully breezed through the duration of a 5 minute guitar solo, each chorus as interesting if not more interesting than the next. - - Jimmy Cobb's bright and sizzling drumming does nothing but help... Today Mel Rhyne is one of the strongest organists around with a full, heavy grooving, heavy swinging and amply commanding sound both as an accompaniest and a soloist - - however, on this session it is clear that Wes is the Boss... however, accompanied in more than adequate company... backed by a rhythm section that is tight, yet flowing and responsive at the same time. You get the feeling that these home town cats have worked together before ! From the beauty of CANADIAN SUNSET to the frenzic licks of THE TRICK BAG the album sounds fresh and modernsitic even even almost 40 years later - - if ever a "prototypical" Jazz session was recorded... this one belongs near the top of the list !

I agree with a reviewer who stated that not only is Wes obviously comfortable with the format here (organ trio with Mel Rhyne and Jimmy Cobb), he is sounding true and playing at a level that even by his own standard must be considered "cold-blooded" (as my friend and Wes 'descendent' Jimmy Ponder called it). The way Wes builds his single line solos only to break into impossible chordal ones just when you think he has gone the distance makes me shake my head in amazement, still, after nearly 30+ years of hearing it. While it is true that Wes played by ear, he did eventually know most of the names of the chords he played, and, not that it matters one bit, understood "scales" simply by having mastered them before "knowing" them in the traditional sense. But I digress - "Boss Guitar" is one of Wes' finest Riverside recordings, for whatever reason. I was too young to meet Wes, but those who knew him say that, unlike many players, what one hears on these recordings is the man...so in a way, everyone who digs this knows a big piece of Wes Montgomery and his 'boss guitar'.

For this reviewer "BOSS GUITAR" (1963) is by some distance the greatest recording that Wes Montgomery ever made (his 1965 performances @ the Half Note in NYC take honorable second place). For this session, the guitarist worked with hometown friend Mel Rhyne in the "organ trio" ( B-3 organ, guitar, drums ) format in which he previously plied his trade in an endless succession of gigs at bars and after-hours clubs in his native Indianapolis. What sets this LP apart from the others?

1) Repertoire:

It is carefully programmed as a balance of blues + ballads + bop. Two of Wes' best original tunes are here ( "Fried Pies" and "The Trick Bag" ). Some tunes have a Latin/Bossa feel ( "Besame Mucho" and "Canadian Sunset" ) while standards such as "Dearly Beloved" and "Days of Wine & Roses" are taken at varying tempos ( the former taken at an incredibly fast clip ).

2) Performance:

Wes was unbelievably "on" (even by his Olympian standards) for this recording: some of the melodic lines that come out of his improvisations are impressive enough to be considered "tunes" themselves (his improv on the ballad titled "For Heavens Sake" brings tears to the eye). Also, a crucially important aspect of this session was having the services of the great drummer Jimmy Cobb, who really helps propel the group in dynamic fashion.

3) Sound:

The (original) engineering on this album comes closer than most other "Riverside" albums in revealing the beautiful tone of Wes' Gibson L5. While not as rich as his later "Verve" releases, "BOSS GUITAR" is notable for its sound quality, which is subtly enhanced in the 20-bit remastered version under review (NB- another point in favor of this recent re-issue is that the original order of tunes has been restored, alternates being properly relegated to the "bottom" ).

CONCLUSION:

Wes Montgomery was a very consistent artist, so one will not find many mediocre offerings in his oeuvre. Nevertheless, "BOSS GUITAR" stands out both as the flawless diamond in his brilliant (and all too brief) career and as a truly great jazz recording.

Since Wes Montgomery spent a lot of years playing in an "organ trio" format ( B-3 organ,guitar,drums) in after hours gigs in his native Indianapolis, it is understandable that he would be comfortable for this 1963 recording made with hometown friend Mel Rhyne on organ and Miles Davis alumnus Jimmy Cobb on drums. What sets this record apart from the other trio format records Wes made? NUMBER ONE- Repetoire: carefully programmed as a balance of blues + ballads + bop. Two of Wes' best original tunes are here ( "Fried Pies" and "The Trick Bag" ). Some tunes have Latin/Bossa feel ( "Besame Mucho" and "Canadian Sunset" ) while standards such as "Dearly Beloved" and "Days of Wine & Roses" are taken at varying tempos ( the former taken an incredibly fast clip ). NUMBER TWO- Performance. Wes is unbelievably "on" for this session, even by his Olympian standards. Some of the melodic lines that come out of his improvisations are impressive enough to be considered "tunes" in themselves. Also, having an excellent drummer such as Jimmy Cobb really helps this music lift off ( what great jazz album has a poor performance by the drummer? ). NUMBER THREE- Sound. The engineering on this album comes closer than most other RIVERSIDE albums in revealing Wes' beautiful guitar tone ( "SO MUCH GUITAR" & "FUSION" are also notable in this regard ). While not sounding as rich as his later Verve label albums, "BOSS GUITAR" is unique soundwise for a RIVERSIDE release. Okay, 'nuff said. Check it out; I think you'll enjoy it.

Of all the Wes Montgomery recordings I own, this is definitely my favorite. I feel that the improvised solo on "Days of Wine and Roses" is one of the best jazz improvs ever recorded. Everything is there: great sensitivity and feel, absolutely inspired melodicism, and a beautiful structure. Pretty mind boggling when you take into consideration that Wes knew nothing about music theory, scales, reading music, even the names of chords - he just played by ear.

If you want to know what unsurpassed brilliant jazz guitar sounds like, then this is the record to listen to. Wes recorded this album in April of 1963 and it still sounds fresh and exciting. He is seemingly at the zenith of his powers for this session and the result is some of the best jazz guitar playing ever recorded. "Besame Mucho" is haunting as he develops his solo starting with single lines and then builds the excitement with concluding octaves that became his trademark. There is also an alternate take of this tune and it is fun to compare the two versions. There are also two takes of the mesmerizing blues in F, "Fried Pies". We are also treated to three uptempo numbers that are exceptionally good; "The Trick Bag", a Montgomery original speeds along with single lines and then breaks into breathtaking octaves. Uptempo "Dearly Beloved" and "The Breeze and I" display extraordinary single line playing of Wes. Here he just builds and builds, perculating along with rhythmic ingenuity and gorgeous melodic invention . The solos are compact on these two but are perfectly crafted and cohesive.Credit must also go to Mel Rhyne and Jimmy Cobb who tastefully support Montgomery's flights in a swinging and never intrusive fashion. If you like this record, check out "Guitar on the Go" and "Portrait of Wes". They are also wonderful examples of Wes in the organ trio format.

Another vote for Boss Guitar for the best Wes Montgomery record of all time. These remastered series are limited, and the sound is so much better than the regular CD that you wont believe it. This is essential listening.

I love Wes's playing, but there are too many tracks with organ that overwhelms the sound of the guitar.
On the first few tracks, the organ, honestly, sounds like it belongs in a circus.
There are a few songs that redeem this album, like "Wine and Roses", so I would get it because The Man is playing, but "The Incredible Jazz Guitar of Wes Montgomery" is a better choice.
I gave it 4 stars because of, you guessed it, the annoying organ. "Sorry" to all the keyboard players who dig that aspect of this album.
Hope this helps.

Haven't heard a trio album ever sound so complete. Perhaps Bill
Evans but that would be a completely different comparison. This
timeless album seems to have no beginning or end. You will get
listners lost in the complexities of this album if you hit the
repeat button. The unlimited playablility is perhaps the
strongest attribute. Full house is the first choice but the Wes
album you may play the most is this one. Just a suggestion and
no more. Yes, Incredible Jazz guitar is great but I don't play
that one too often because of this one.